It’s tough to be mediocre – or at least, that’s the basic premise of Brad’s Status, which follows a middle-aged man as he tries to make sense of a world he no longer recognizes while undergoing a series of college tours with his gifted son, in whom he sees every lost ambition and broken dream reflected, almost to the point of resentment. Mike White, whether as a writer or director, is always someone whose films reflect a deep and intimate yearning for a particular experience or sensation, and this one isn’t any exception, with every component of this story being a poignant and achingly funny exploration of the psychological state of a man who genuinely begins to believe that he isn’t enough, but will do absolutely anything to prove such intrusive thoughts wrong. There is so much to adore and appreciate about this film, and it really begins and ends with White, whose beautiful humanity as a filmmaker is only surpassed by his wicked sense of humour, both of which are perfectly showcased in Brad’s Status, which dares to ask some of life’s biggest questions, being a meaningful provocation of several complex ideas that may not be expected based on a surface-level glance at this story, which actually turns out to be surprisingly complex at the best of times. This isn’t a film that has been as widely appreciated as it perhaps should – at a cursory glance, it seems like a minor film by a reliable but niche director, and in many ways it is exactly what we’d expect, at least in terms of how it executes its story. Yet, there is always something more simmering beneath the surface, which is where White finds the brilliance in an otherwise fantastic but simple narrative that is both unassuming and radical in its form and intentions, respectively.

If there is one theme that Brad’s Status dedicates almost its entire running time to explore, it would be that of success. Throughout the film, White is asking a very simple question – what makes someone successful? He proposes several answers – wealth, fame, influence and status are all the most obvious answers, especially when filtered through the perspective of a man who has failed to achieve any of that, and subsequently starts to genuinely believe that he hasn’t reached a place of success. However, this is a film composed of many layers, and even when asking such an elusive question, the director begins to gradually challenge our expectations by adding another level to the general definition of success – and ultimately, the film’s main message is that success is not something that falls under a singular category, but rather relative. It all depends on what makes someone happy, and gives them the comfort to be at ease in a world that is really not nearly as focused on judging our every move as we would like to think. This is inarguably a heavy subject, especially when we consider the fact that, despite being a rather small film, everything surrounding Brad’s Status is essentially trying to comment on the experience of being alive, asking some very deep philosophical questions, while never once deviating from its charming, insightful humour that is often found in these intimate comedies that always use more lighthearted approaches in telling some very deep and profoundly moving stories, especially those that touch on the human condition in ways that we’d not expect at the outset.

One of the more interesting developments an actor has undergone in the past decade is Ben Stiller’s metamorphosis into a more serious actor – while he hasn’t made a career out of playing entirely dramatic roles, several of his recent choices have been quite surprising in how deeply moving they are. Between Brad’s Status, The Meyerowitz Stories (New and Selected) and The Secret Life of Walter Mitty, Stiller has weaponized a very internal, insightful set of talents that were previously not found in his more mainstream work. There is a legitimate argument to be made to this being Stiller’s best work, since he’s making use of both sides of his personality in the construction of a complex and interesting character, and this movement towards more serious-minded (while still very lighthearted) seems like the natural progression for the comedian, who is doing stellar work here – he’s a capable actor who can find nuance and meaning in the most unexpected places, and this quality is put to work beautifully in Brad’s Status, which is a layered film that rests squarely on Stiller’s shoulders. He’s so good, not even the rest of the ensemble, which includes recognizable actors like Michael Sheen and Jemaine Clement doing great work, stands out. The only other person in the film that is nearly as magnetic is Austin Abrams, who is fantastic, playing the reserved but intelligent son of the titular character, who has to endure his father’s midlife crisis in the midst of deciding on his own future. It’s a beautiful performance from a gifted young actor who has a very promising future ahead of him if this film is anything to judge on. Ultimately, Brad’s Status is fantastic because it manages to find nuance in very conventional characters, making them unique and charming in their own right.

There is an inherent danger that comes with Brad’s Status in the form of the tone – based on the premise, this film could’ve easily have become a jumble of genres, with flippant comedy and heavy-handed melodrama both being components of the story. However, one of the many gifts possessed by the director is an ability to find the right balance, turning even the most overwrought narrative into a poignant and interesting commentary on a range of themes. This film is essentially a one-man show that sees Stiller’s character, often in conversation with his own mind, discussing his various failures of the past, ruminating on his earlier and more promising years, or imagining the future, whether it be the most ideal version of it, or one that he fears. There is a lot of discussions that is being provoked by the film, and White (as is usual for his work) is questioning a range of subjects, all of them interwoven to form a fascinating character study that unpacks the psychological state of the protagonist as he questions his choices, as well as tries to come to terms with the fact that he has not achieved everything he thought he would. It sounds like an opportunity for White to simply centre a film around an unlikeable man who complains about how he squandered every bit of potential he had, as a result of being a product of his time. Yet, this isn’t the final message of the film at all – every moment of self-deprecating leads the character to realize that the life he may be leading isn’t perfect by textbook standards, but also coming to understand that there isn’t a single idealistic version of success in the first place. There’s a catharsis that happens in the third act, when Brad (after a conversation with members of the younger generation) just surrenders to the fact that life rarely goes the way we imagine it to – it’s all about appreciating what we have achieved, rather than lamenting the missed opportunities.

There’s much to be said about Brad’s Status, both in terms of the discussions had throughout the film (which is very much focused on exploring the main character’s various existential quandaries), and the unique ways in which White manages to explore these themes without the film becoming overwrought or heavy-handed. This is not a quality that necessarily can be easily found, and the director puts in a lot of effort to ensure that his voyage into the lives of these characters is both profound and entertaining, with one informing the other in ways that we’d not expect to be so thoroughly effective. In the end, Brad’s Status is a very simple film – it doesn’t have much to say about the overarching story, with the college tour premise just being a structure on which the more complex aspects of the narrative were facilitated, a general plot just used to evoke deeper conversations. The brilliance comes in how effectively and elegantly it approaches more elusive themes, those centred on the psychological state of people who yearn for something better, but find themselves torn apart by internal strife and a refusal to look beyond their own perception. It’s a beautiful and affecting work that provokes as much thought as it does laughter – and White continues to impress audiences with his genuinely moving, achingly funny explorations of the human condition, which is beautifully (and quite potently) deconstructed into this heartwarming comedy that demonstrates the enchanting and meaningful power of a story well told.